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post by ableh

Your pet can be ideal photography, giving you the opportunity to photograph an animal, but keep control much more than in a wild environment. Follow these tips to help you take perfect portraits of pets.

1. Be patient!

It is no good assuming you have perfect weather photo first, be patient with the animals … No matter how they are obedient, animals by nature are curious and unpredictable. Take the time to capture a variety of different poses and for them to get used to the camera.

2. Observer

This is especially important if you want to photograph someone else to pets. See the animal to see how it behaves if you can capture something that sums up their personality, or seeing if they do something unusual that’s worth.

3. Fill the frame

The portraits of the most beautiful pet are all on the subject. Fill the frame with the head of your pet to really capture the expressions and fine details such as fur. Try to avoid distracting backgrounds that distract your pet too.

4. Composition

Be careful when composing your shot does not cut pieces of the animal – it can take what would be a fantastic picture with a simple OK. In the screenshot above example, the eyes and ears are large, but avoiding the clipping of ears would have done even better.

5. Use natural light

You get the best results if you use natural light, as shadows and cons nature throws will not be cast on your pet. Take your photos in a room with large windows and lots of natural light, if you can not take it outside.

6. Scroll down to their level

Shooting your pet above will rarely catch them at their best angle. Just as you need for children to reach their level (or make them yours if you can!) For a touch more visual, more natural expressions and avoid the crow flies, that will overwhelm small animals.

7. Let them play

Animals are naturally curious creatures and will probably wonder what you do with your camera. They investigate the camera (within reason, of course) so they get used to it and behave naturally.

8. Avoid camera flash

If possible, stay away from camera flash. This will not only unnatural shadows on your pet, it could also scare them. If you shoot in the dark, bouncing an off-camera flash to the ceiling or wall for a source softer and less intrusive light.

9. Pet photography camera settings

A shutter speed will ensure that you are able to capture the rapid movement of your pet, do not be afraid to mount the ISO if the light is a problem to make sure you keep that speed. Using a large aperture will lay the background blur, and keep your attention solely on the animal.

10. Pet choice camera

The use of a fixed length lens fast as the first 50mm (I used the Canon 50mm f/1.4 USM for these images), you will get a shallow depth of field and shoot beautifully ISOs low, even in the dark. You can also opt for a fixed length 100mm macro that lets you fill the frame without close enough to your pet to distract them.

11. Attracting attention

Get together a bag of tricks to attract the attention of your pet or get them to behave in a certain way. A whistle for dog treats or a toy can all do wonders, and is particularly effective if you can find another person to use to focus on taking photos.

12. Keep your eyes piercing

A cardinal rule in portrait photography, keeping sharp eyes is something that applies to photography for pets too. Keep them sharp by adjusting your autofocus to lock onto the eyes.

13. Everything is in the detail

Do not overlook the little details, like the paws of your pet, their ears or even their favorite toy. You can use these close-ups as part of a slideshow, or a photo album to add character.

post by ableh

There are many strong signals indicating a date Canon EOS 1Ds Mark IV release in the near future. Perhaps the strongest signal of all is that which is hidden from view: that it is almost impossible to buy a Canon EOS 1Ds Mark III!

Recent research by radar device found that the Canon 1Ds Mark III is not only out of stock at most retailers in the U.S. and the UK, but perhaps more importantly, it is heavily discounted by retailers who do have it in stock.

Launched in 2007, the EOS-1Ds Mark III has been the dream of camera studio. Offering a resolution of 21 megapixels to a full-frame sensor, the 1Ds Mark III has a high enough resolution – and a body hard enough – to satisfy the most demanding professionals.

Fast forward to 2011, however, and the Canon 1Ds Mark III is suitable for resolution by the less expensive Canon 5D Mark II, which offers a video mode to boot. The 1Ds Mark III can not shoot video footage, and how first-generation live view is not much to shout about.

In recent months, Canon has also made noises about new CMOS high resolution sensors. All this adds up to a date Canon 1Ds Mark IV release at some point in the coming months.

2011 Canon 1Ds Mark IV likely release date: 90%. But we probably will not see a Canon 1Ds Mark 4 release date until spring 2011.

post by a bleh

Passion skinny girls showcase the fashion apparel and swimwear and the show is really catchy. Nobody can deny the attraction of the series between the fashion lovers and young viewers. Hottest Girls of today, with their body movements make this show acute breathtaking beauty and filing. The hypnotic power of attraction created by the fashion show is such that girls have become celebrities in the model of broadcasting a few episodes.

post by ableh

If you’re planning your first foray into the world of underwater photography, good planning and preparation area should be. Your security and your “buddy” should be high on your priority list. If you are a novice area of less than 50 dives, it is a good idea to enlist the services of a buddywho diving is much more experienced than you, so you can practice your skills without leaving your comfort zone. Forth reason, it is generally preferable to use a digi-compact camera in a suitable housing underwater before venturing into the world more work intensive DSLR housing.

Your choice of underwater camera is dictated by a number of important criteria, the most obvious being whether there is housing available for it. Vital questions, I ask questions on any prospective new camera can do custom white balance and then I reach a wide-angle lens to housing? Smaller until you’re comfortable underwater photographs are high-end features such as RAW and manual controls. Trying too much too fast can be dangerous. For those just starting outi recommends the Canon PowerShot compact cameras rangeof

Custom White Balance
The deeper you go underwater the moreyou lose the colour red and photos will quickly take on a flat blue tone. This can be fixed using custom white balance. A lotof cameras have an underwater setting,which can be okay in shallow water, butis next to useless for scuba diving which happens at a variety of depths.

Wide Angle Lenses
Water is considerably denser than air,which means colour, clarity and contrast fall off very quickly the further you are fromthe subject, even in the clearest conditions. Attaching a wide-angle or even a fish-eye lens to the outside of your camera housing will allow you to get much closer to the subject, but at the same time keep all ofyour intended subject in full view. Reducing the water column like this has transformed what is possible withbasic point-and-shoot cameras underwater.

Pre-Dive Checks
Before any dive it is important to carry out practical checks of your photographic equipment. This is as important as carrying out all your dive equipment checks alongside your buddy. This means making sure you have enough space on your memory card, your battery is fully charged and that you have carried out any cleaning and lubrication of your housing’s rubber seals, known as O-Rings. This should all be done well in advance of your dive briefing. If you are using a dive guide, pay particular attention to features they mention that you think will offer good opportunitiesto take pictures, such as caves, swim-throughs or large coral formations.

There may well be marine life unique to that area that you will want to photograph. Jot these things down on to a dive slate if you have difficulty remembering things. It’s a big temptation to take every bit of underwater photography kit you own on your dive, which is why it is important to listen to your dive brief and take only the equipment you think is necessary. I always try to reduce my equipment choices. If anything it forces you to think more creatively. For most dives I carry only my camera and housing, and a wide-angle lens.

During the Dive
If you are a competent diver and your guide is happy for you and your buddy to hang back from the group, allow a few minutes to take stock of everything around you. Look at where the sun is in relationship to the reef and the overall topography of the area.

Unless I am deliberately shootinga silhouette, I prefer to keep the sun behind me. This is the best orientationif you want to shoot available lightand use custom white balance. I much prefer to shoot during the ‘golden hour’ just before and just after sunset and sunrise. I find the colours, shapes and shadows take on their most dramatic aspect. It is also the best time to observe many marine animals in action, as this time usually coincides with feeding habits. Most places with the best diving are also marine reserves with strict rules that do not allow divers to touch the reef. This means tripods are out of the question and so your dive skills are the key factor in getting you close to the action. First-class buoyancy control, the ability to keep level in the water, will ensure you are a stable platform from which to take pictures.

I normally set my camera in its spot-metering mode and use the half-pressure of the shutter release to lock the exposure. Then I reframe for my final composition. This can be done in a jiffy when practised well and gives you unprecedented control of what is essentially a point-and-shoot camera. Even challenging exposure situations inside caves and wrecks can be mastered using this technique.

Other Situations
So far we have covered what is possible using just in-camera controls and available light, and in fairly good conditions, but what if the prevailing conditions don’t allow us to shoot in this way? We can try to raise the ISO, but this compromises the picture quality and although compact cameras are getting better in this respect, I never go above 800 ISO when shooting. Therefore, once we have run out of available light we must think of alternative ways to light subjects underwater.

External flash is the most common way to do this. These are triggered usingfibre-optic cables and a slave system, actuated by the camera’s own internal flash. They give a slightly increased range, up to a metre or so, but the main reason to use them is to be able to move the flash away from the axis of the camera lens. This helps reduce a problem known as ‘backscatter’. I often use a high-powered video light to shoot both stills and video.

Be creative
It is important to know the technicalins and outs of your camera so that it becomes second nature to you, but it is also important to be creative. With the average dive lasting only an hour or even less, it is important to be as prepared as you can for what you might encounter. For example, you may be at a dive site that you are only going to get one crack at, so find out what time of day you will be diving there. Find out where the sun is coming from. Are you there fora particular creature or feature?

Most resort or live-aboard diving is carried out ‘multi-level’ which means you generally descend to about 30m and then work your way shallower over the course of the dive. As the light is much better above 15m I will head to the shallow water much sooner unless there is something noteworthy to shoot in the depths.

Get close to your subject. Go slow. New divers have a tendency to charge around. My advice is to take it easy, you will be more relaxed, which will make it easier to capture any skittish marine life you may encounter. It’s remarkable how close you can get to things if you take your time.

Shoot upwards towards the surface. This allows you to isolate the subject from the background and create eithera silhouette or alternatively the plain blue background of the sky. There are lotsof opportunities for abstract shots underwater, so take them. Keep it simple – in a graphical sense, less is more.

If you have a compliant subject, take lots of shots and angles, you probably won’t be there the following week and your memory cards are the least expensive part of the equation.

Paul’s Starter kit for Beginners:

- Canon Ixus 130IS from £149 www.canon.co.uk
- Ultra-slim IXUS design
- 14.1mp
- 4.0x digital zoom with IS
- 5.0-20.mm focal length
- Smart Auto mode with Scene Detection Technology
- DIGIC 4
- ISO?80 through to 1600
- 2.5in PureColor LCD II
- Face Detection Technology
- Fine, normal JPEG
- HD Movies (1280×720 pixels, 30fps) and HDMI connection

original web

post by ableh

This is the first collection of Islamic-themed in my web, this collection I took from my photographer friend, in this photo is a model that demonstrates that the name farah really pretty and beautiful
if you are all impressed with this picture give your comments on this photo thanks

post by ableh

Fashion modeling is the most prestigious category of the modeling industry, because about a dozen of fashion models have actually achieved the status of celebrities.Fashion modeling industry is not open to everyone and has very strict standards: height, weight, age and measurement requirements.

post by ableh

This is a collection of photos I took of my friend’s razor photography, photo images with high quality art here in a photo studio that is very charming, …
Angela li is one example of the photos, very pretty right?

post by ableh

Isn’t fun and exciting to take pictures? As for photo lovers it is their passion have a good collection of pictures. However, for professional photographers, which taking pictures is their profession, they are oblige to have a good photo shot in order for them to have more clients.

As for travelers who love to discover new places, photography is their perfect companion, because the photo itself provides them tangible memories of their trip, they can also show to their families and friends the exciting places they have been, the wonderful scenery, and the great people they have met.

Some say that photograph is considered as a message, because it conveys a statement, an impression, or an emotion. You as the author of your photograph you are expressing this message in a clear, brief, and effective way. But how will you do it to be able for your viewers understand your message? Like any ordinary message, first you need a subject. The subject is the center of attention and it is usually placed in the forefront of the shot. This can be a building, a natural panorama, or some abstract form. As a true message, if you have a subject you must be able to have a context to define or to discuss your subject. This can be your second element, the context, which is frequently the background. The context gives the subject relevance, presence, location, or other interest. With the help of these two main elements, which are subject and context, or the foreground and background, you can now tell to your viewers what exactly the message of your photo

post by ableh

New slot machines Kr in the Pentax lineup between the entry level model Kx and K-7 enthusiast. Visually, it is much closer to the Kx but a closer look under the hood reveals that the new camera has been improved in various fields. Specifically, Kr now shows the point of active focus in the viewfinder when the shutter is pressed halfway. The lack of this feature was one of our main points of criticism of the Kx and Km (which is almost certainly why the prism Kr is slightly larger than Kx).

Despite the visual similarities with Kx Kr is supplied with components of both the Kx and K-7 and includes some completely new features as well. Kx as he captures the images and 720p video onto a sensor of 12.4. As the K-7 pictures and menus can be viewed on a 3.0 inch LCD screen with 921k pixels resolution. In addition, Kr offers the widest ISO (100 to 25,600 in enhanced mode) and the fastest burst mode (6.0 fps) of all current Pentax DSLRs. New features include an IR interface simple (wireless data transfer to compatible devices), a method of treatment of substance and a Night Scene HDR. For photographers who can not decide whether they prefer AA batteries or a rechargeable property as a source of their power unit offers two options of Kr. It comes with a rechargeable battery AA standard but can be used with an adapter optional.

read original articel this

post by ableh

this pretty young girl named farah he still sits in class 3 high school is pretty and sexy face make him very good in photos.
long black hair, smooth white body keen eye makes it very interesting
I hope this picture can you enjoy, greeting…..

post by ableh

The Micro Four Thirds system turned two years old last October, and a lot has happened since Panasonic debuted the DSLR-inspired, but mirrorless Lumix DMC-G1. What was then a brand new system has had time to mature, and mirrorless interchangeable lens cameras (ILCs) now make up one of the fastest-growing and competitive segments of the consumer digital camera market.

Although the Micro Four Thirds system got in first, Panasonic and Olympus haven’t had everything their own way. After a decent head start, Panasonic’s G-system and the Olympus PEN-series have been joined by Samsung’s small-but-growing NX range, and Sony’s innovative NEX-3 and NEX-5. All this competition has resulted in a rash of new releases from both ‘original’ mirrorless ILC manufacturers in recent months, as Panasonic and Olympus attempt to consolidate their early lead and grab as much market share as possible.

Part of that strategy is to aim lower, at novice rather than solely enthusiast consumers. The Olympus E-PL1, released in February 2009, was designed to appeal to precisely this market, filling the gap between high-end compact cameras and enthusiast-oriented, mostly DSLR-inspired, ILCs. The E-PL1 dispensed with the control dials of the E-P1 and E-P2, but retained the same sensor (albeit with a lighter AA filter), in a smaller, considerably more compact-like body. It also boasted – gasp! – a built-in flash; something which Olympus opted to dispense with in both the E-P1 and E-P2.

read text original Olympus E-PL2

post by ableh

Well, not quite a week, but it simply must be a joke. We thought we could just see one of Venice’s legendary floods wash through the Piazza San Marco. We were not as lucky (or unlucky, depending on your viewpoint), but when you visit the Murano rain and rain as we crossed the Rialto Bridge trip for dinner and it rained on us in the sandolos nacelle and without pity. “Well, it’s actually an opportunity,” I repeated as we huddled under our umbrellas. Nobody believed me. I sounded (and looked) like a drowned rat look good on the punishment to come.

Then something extraordinary happened: The sun is out. photographers rushed to the students to grasp the glory of Venice. And, lo and behold, they come back disappointed! “It looked better in the rain,” it felt almost universal.

In fact, Venice seemed magical in the rain. In case you’re not careful, get a share of photographers in Venice, and the rain had changed numbingly familiar scene into something fresh and ripe for discovery. This can be refuted, but still decent trumpet when the rain began to fall, the photographer, or head to a photo.

There are, of course, the problems involved, and it breaks down into two categories. First, how to keep your camera dry (no one cares whether the photographer is wet), and two, show how the rain in the picture. The second point seems paradoxical. How can you show no rain in the picture? Remarkably, the rain often looks dull, gray, and on the edge of the invisible.

So here are some tips:

1. Carry a raincoat for your camera. There are about a million covers waterproof camera equipment on the market. The real problem is he had with you when it starts raining. Anything that will protect your camera completely against all storms up to and including a hurricane may be too bulky to carry around all day. My advice: rain gear transmission unit in your bag that will not take too much space and get by in a pinch.  It has an adjustable elastic band in front of cinch around the front of the lens and another in the back room to give your hand to reach inside to start the camera. Simple but effective in many situations wet.
2.Carry a plastic bag, gallon size. In a pinch, it will make a fair job of keeping the camera dry. Drill a hole in one end to prick through the lens and stick your hand into the other end.
3. Look for porches and awnings. Park in a dry place and wait until the images come to you. Drink a glass of wine, read a book, talk endlessly Proust. A little patience.
4.Shoot inside a car. This is often the best course of action, and that sometimes the only practical solution. You can often lower the window and stay relatively dry, especially if the wind at your back (from the other side of the car). This was the case when I photographed a freight train of a storm in the Flint Hills of Kansas for the National Geographic magazine. I outraced the storm in an excellent position and turns the car on the side so I could look down a winding road pastures. The rain beat mercilessly behind me that funnel clouds dipped and soared, but I kept dry and kept shooting. (Do not try this at home.)
5. Buy an umbrella. I always carry a small folding umbrella in my camera bag. It is five inches long (13 inches) folded just big enough to keep my camera on the worst humidity. If you’re in a city where it starts to rain, looking around a selling group. I found one in Venice and bought two, each a different color. (Why? There is a hint about this approach.) It would be nice if you had a faithful assistant (patient or spouse) to bring the umbrella, but I think I can do a lot of work while holding the rod umbrella in my left hand, who also seized the camera. A bit awkward, yes, but it has the advantage of maintaining the right umbrella over the camera. (Do I need to add here that this notice does not apply in thunderstorms Umbrellas are remarkably similar to lightning rods in the physical construction and work roughly the same memories? .. If you can hear thunder You are within striking distance of lightning)
6. Include the umbrella in your image. In fact, your umbrella can be a framing device very beautiful composition. Bring down the top of the image when shooting with wide angle and it fulfills the upper part, by providing attractive visual information it is, in fact, it’s raining. If the streets are full of people under umbrellas, you part of the crowd. But it can do something more important. While we think of rain clouds dark and sinister, they are, in fact, often the source of light for a rainy scene. Therefore, the clouds are bright and the scene below is dark. Use the umbrella to cover the clouds too bright and your scene is suddenly much more vulnerable. (These two umbrellas I bought in Venice? Because I was not sure what color would look best in my photos.
7.Watch for reflections. Unless you’re in a downpour, it is difficult to actually see the rain itself. Therefore let the visual cues that it’s raining. Look for ways that the rain transforms everyday scenes into rich, reflects murals. This has made the streets of Venice to sparkling in the night at our workshop. It is also the reason I hunted this pigeon on this whole place, he reflected clipping against the windows.
8. Backlight rain. The rain becomes more visible when it is backlit. Light passing through raindrops is concentrated and slightly brighter than the rest of the scene. So, find sources of light and pull him up. This could be a lamp at night, or it could be if the sun breaking the clouds. Anyway, the rules are the same. One, the most direct shot into the light, the better you can see the raindrops. Two, drawing too direct light source and control your exposure. So always ask the magic angle between the two. Incidentally, this umbrella you were carrying could be used as sunshade service.
9. Pop just a little flash. Huh? No, really, I mean it. Flash your lights and raindrops, usually a bad thing as it will drain much too bright, as it attempts to illuminate your subject. You do not want. But turn it to the end (as -3.0 stops) and it will add just a little pop to the raindrops. This technique is tricky, you’ll have to experiment. Maybe it will not work at all, but if it does, it can be quite magical. (Also works on snow flakes sometimes.)
10.Be on the lookout for joy or misery. Rain changes people. We respond to rain with a range of emotions, fear commuters deaf rain soaked in the joy of wonderful children. Capture these emotions and you have an image heavy rain.